The journal of the Canterbury Society of Arts 66 Gloucester Street Telephone 67 261 PO Box 772 Christchurch New Zealand

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President Vice Presidents

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Director Hon. Secretary Hon. Treasurer Auditor Gallery Assistants

Consultant Office Publicity

Editor

The Hon. Sir David Beattie G.C.M.G., Q.C.

Mrs Doris Holland John Trengrove, Dip. Arch., F.N.Z.I.A. John Coley, Dip. F A , Dip. Tchg. Michael Eaton, Dip. F A , Dip. Tchg.,

F R.S.A. W W . Cumming Simon Stamers-Smith, LL.B. Judge Fergus Paterson Nola Barron John Vial, Dip. Arch. Jewel Oliver John Hurrell, B.A. Dip. FA. David Sheppard, M.Arch.,

M.C.P. (Penn), A.N.Z.I.A., M.N.Z.P.I., R.I.B.A.

Alison Ryde Josie Jay Dip.Hort W.J. Parsons, B.Com., A.C.A. Nola Barron Barry Wilkie, M.A., Dip. Tchg. John Wilson, A.C.A. John Midgley, B.Com. A.C.A. Grant Banbury, Dip.F.A. (Hons.) Evan Webb, Dip.F.A. (Hons.) Rona Rose Jane Davidson Astrld Neumann, Dip. Tch.

Josie Jay

Registered at Post Office HQ Wellington as a Magazine

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E X P E R T C L E A N I N G — R E S T O R I N G GILDING A N D ANTIQUE

H. FISHER & SON LTD Fine Art Dealers 691 Colombo Street (Between Cashel and Hereford Streets)

CHANGES IN THE GALLERY ART CLASSES We regret that ow ing to the pressure of requirements for workshop space in the Gallery the Counci l has decided to forgo all Art Classes, inc luding the Chi ldren's class.

HOWEVER, we have arranged wi th Hagley High School to re-locate the classes in their c lassrooms. We are pleased that they can offer a wider range of activit ies, and they have better teaching facil i t ies and equipment. The rooms are warm, br ight and workmanl ike areas.

The chi ldren wil l be able to explore many more facets of art inc lud ing pr in tmaking and pottery and sculpture.

The present tutors wi l l be offered their posit ions so that we hope there wil l be cont inu i ty in tu i t ion. At the end of the year the C.S.A. Gallery wi l l hold an exhib i t ion of the chi ldren's work on the 7th December and we hope parents and chi ldren wil l come.

Future enrolments wil l need to be made at the Hagley off ice, and payment should be made there between 9am to 12 noon and 6pm to 8pm. The fees wil l be $26 for the term. Their te lephone number is 793-090.

We are sure that the chi ldren wil l enjoy the classes at Hagley and that the change of environment wi l l prove benef ic ial .

ARMSON PRINTS We have in stock black and white reproduct ions of Arch i tec­tural Drawings by W B Armson.

They include: The Public Library 1875 Strange and Co. 1874 St Marys Angl ican Church Timaru 1880 Bank of New Zealand Dunedin 1879 Chr is tchurch Boys High School 1879

They have been reproduced for the Chr is tchurch Civic Trust by courtesy of Col l ins Hunt and Lover idge and are a standard paper size of 448 x 633 mm.

Available in the set of 5 they would be ideal prints for publ ic areas in commerc ia l bui ld ings.

$2.50 each or $10 a set

FLAMENCO GUITAR LUNCHTIME RECITAL AT THE GALLERY Thursday 7th Nov. 12.10-1 pm and 1.10-2 pm

Quentin Arnold — Phillip Bates

Flamenco Guitar November 7th 'The f lamenco guitar is an instrument wh ich is closely l inked to the pecul iari t ies of the f lamenco art. It forms an important part of this art wh ich is submerged in t radi t ion and has characterist ics that border on the esoteric, and because of this it is often descr ibed as having a certain "bewi tchment" .

(Jose Ramirez III)

Many di f fer ing theories are held regarding the or ig in of the word f lamenco. Some histor ians believe it derives f rom "f lemish mengro" meaning roguish.

Phonecian documents f rom more than 2000 years ago relate that their merchants were del ighted on seeing the dancing gir ls of Cadiz. Romans, Celts, 600 years of occupat ion by the Moors, Christ ians, Jews and Gypsies all combined to enrich the music of Spain.

Flamenco emerged f rom this cul tural admixture as a dist inctive form of music and dance.

Quentin Arno ld first t ravel led to Spain to study Flamenco in 1969 and has returned there several t imes since, work ing with the f lamenco guitar to accompany s ing ing and dancing and also as a soloist. He has also per formed in the UK, France, Germany and Scandinavia. Before coming to Chr is tchurch this year he was p lay ing in the El Jaleo cabaret in Sydney.

Phill ip Bates began the study of f lamenco guitar in Wel l ington in 1975 and travel led to Spain in 1976 where he studied in Seville. He fur thered his knowledge of f lamenco over the next 6 years playing and studying wi th Manolo de Jaen in Austral ia and work ing wi th the guitar both as a soloist and accompan­ying f lamenco dancers in Melbourne. Returning to New Zealand in 1983.

Phil and Quent in fo rmed their duo f lamenco in Apr i l after work ing together at a Spanish dance workshop held in Chr is tchurch.

Programme Sevillanas Taranto Alegria Co lumbiana Solea Granadina Farruca Bulerias Cana Rumba Romance Mi longa

VOLUNTEER HELPERS AT PREVIEWS. A good way to see the shows and be part of the scene.

Our stalwart organiser Mrs Jewel Oliver, phone 34-038, would like to hear of members who wou ld be wi l l ing on occasions to pour wine and stack glasses at the previews . . .

There is no wash ing-up required.

If you wou ld l ike to help please r ing her or phone the Gallery 67-261 to put your name on the list.

The Gallery is interested in handling the re-sale of early paintings and has collectors inquir ing for such work.

Please enquire at the off ice.

C.S.A. GALLERY

STEPHEN TAYLOR Talk with Slides — Glass 3pm Sunday 17th November

Stephen Taylor was born and educated in England. He first trained as a painter at Wimbledon School of Art and has always considered his work f rom that v iewpoint , using glass as his medium. A d ip loma of Associate of the Royal Col lege of Art in stained glass fo l lowed and he is also a Fellow of the Brit ish Society of Master Glass Painters and a member of the Royal Canadian Academy.

Upon graduat ion f rom the Royal Col lege of Art, Taylor became personal assistant to lawrence Lee who had led the design team for the nave w indows at Coventry Cathedral and then personal assistanMo John Hayward for the 100m 2 B lackburn Cathedral Lantern Windows

He immigrated to Canada in 1968 and worked wi th Canada's foremost stained glass artist Yvonne Wil l iams for a number of years whi le at the same t ime establ ishing his own glass studio. In the eighteen years he worked in Canada he became accepted as one of the most noted glass designers and teachers in the country .

Major glass commiss ions have inc luded the Church of the Messiah and the Church of the Holy Tr ini ty in Toronto. Examples of his work other than ecclesiastical have been installed in the home of private col lectors, hospitals, a school and even a pottery supply showroom. There have been numerous press reviews, television and radio interviews and he has been the subject of two f i lms.

He has held the posi t ion of Lecturer at McMaster Universi ty, Hami l ton, Ontar io and this was fo l lowed by Art ist in Residence at Humber Col lege, Toronto and Glass Lecturer at Georgian col lege, Barrie, Ontar io. Throughout this per iod many lectures and workshops were conducted in Canada, the U.S.A. and Great Br i tain.

Taylor and his French-Canadian wife Denise Belanger, a well known Canadian glassblower. immigrated to New Zealand this year and are look ing to establish a combined stained glass/ glass b lowing studio in the general area of Chr is tchurch.

The sl ide lecture wi l l offer work of various artists by whom Stephen Taylor has been inf luenced or studied or t rained with plus a broad select ion of his own archi tectural stained glass.

MERIVALE VILLAGE FLORIST Ruth Bain Diploma N.Z.P.F.

Shop 4 Merivale Mall Papanui Road

Te lephones 559-738 Af ter Hours 557-253 or 528-577

MALING & CO

WINE MERCHANTS 86 G L O U C E S T E R S T R E E T

795-470

B C H ome <i I riend h i Hi . ' ROBERT M(DOUGALL

ART GALLERY Brochures available from CSA

The McDougall Gallery or Secretary Telephone 487-482

THE SELLING GALLERY: The C.S.A. has a comprehens ive and extensive Sell ing Gallery, some members are possibly not aware of.

There are, at any given moment , approximate ly 200 works in the Sel l ing Gal lery . . . wi th pr ices ranging upwards f rom $50.00.

There are many art ists represented . . . Doris Lusk, Olivia Spencer-Bower, John Coley, Grant Banbury, Sam Mahon, Neil Driver, Owen Lee, Bertha Miles, Don Peebles, Sally Powell , Bill Cumming, Gordon Walters, Al ison Ryde, Josie Jay, Gordon Crook . . . and the list goes on .

Pr in tmakers and pr in ts are wel l represented too. Gary Tricker, Molly Atkins, Rudolph Gopas, Eileen Mayo, Joan Taylor, Malcolm Warr, Graham Collins

One of the least known funct ions of the C.S.A. Sel l ing Gallery is the arrangement of commiss ioned works. If a paint ing, or a pr int , or a woven piece is deemed desirable for an off ice, boardroom, commerc ia l premises, school , l ibrary, hospital etc the C.S.A. Sel l ing Gallery wil l arrange such commiss ions.

Another l itt le known aspect is the wi l l ingness of the Sell ing Gal lery to sell works on "behalf of". If a member has a paint ing they wish to sell, the C.S.A. wi l l place it in their Sel l ing Gallery, on commiss ion (22.5%).

This is a service many Members wi l l wish to avail themselves of. It is not easy to sell paint ings . . . somet imes the wherefores and the how-to can defeat the venture f rom the beg inn ing. The Sell ing Gal lery has arranged the sale of works by Sydney Thompson, Stoddart, and other wel l known earl ier painters. Elizabeth Kelly, Cecil Kelly, Rata Lovell-Smith, Gopas and we have wai t ing lists for some artists

The Sell ing Gallery plays an impor tant part in the f inancial st ructure of the C.S.A.

If you want to buy, the C.S.A. Sel l ing Gal lery is there for Members and Non-members . Just inqui re at the off ice.

Collection of Work BUYERS — Rather than ask for payment and handle money at previews, the gallery staff prefer that work bought is paid for fo l lowing the preview night or on the col lect ion date.

Several t imes we have been embarassed that work has not been col lected unt i l long after the close of the exh ib i t ion. This holds up the payment to the artist and causes problems in storage and care of the uncol lected items.

Some galleries require a deposit wh ich is forfei ted if the work is not col lected wi th in a week.

We would prefer not to insti tute such a system.

May we request that buyers ascertain the col lect ion date and col lect work prompt ly at the close of the exhib i t ion.

TRUSTEEBANK GRANT This year we are pleased to receive a grant of $100.00 f rom the Trusteebank Canterbury towards our very busy exhib i t ion programme.

We much appreciate this recogni t ion by the bank, whose support is the ONLY OUTSIDE FUNDING that the Society receives.

Goodman Suter Biennale Opens February 1,1986 Closes March 2, 1986

This exhib i t ion, open to all artists work ing in New Zealand is the first in a series of biennial exhib i t ions of contemporary art in New Zealand.

O n l y p a i n t i n g s a n d c o n s t r u c t i o n s may be s u b m i t t e d . Sculpture, kinetics and graphic works are exc luded works wil l be selected by a jury.

Art ists may submit on ly one work, and new work is preferred. Works to the value of $23,000 wi l l be purchased by the Goodman Suter fund .

Receiving days: November 1st to 11th 1985. Handl ing fee of $10 to be sent when apply ing for entry fo rm to:

The Secretary, Suter Art Gallery, Goodman Suter Biennale,Box 751, Nelson

Mrs Ida Lough It is almost eight years since the last Group Show was presented wi th a f lour ish at the C.S.A. Art Gal lery — November 1977. There wil l now be many young artists and students who may ask blankly "Group Show? What's that?"

Well, there are cata logues, documenta t i on , photographs archival material ' wh ich can be inspected and researched by interested persons.

But the recent death of Mrs Ida Lough brought to mind vivid memories of the many years dur ing wh ich she was the caretaker and moni tor of the Group's somet imes precarious f inancial affairs.

The Group was unique in its casual approach to conventiona account ing systems, and one can only wonder at th is point in t ime "How did we manage all those years?"

No subscr ipt ions, no permanent bank balance, the shows opened and c losed, artists and expenses paid, then silence unti l the fo l lowing March, when the f irst meet ing was called towards organis ing the next show in October.

The mainstay of the f inancial viabi l i ty of this fragi le but wiry structure was undoubted ly Ida Lough , who was, I suppose Treasurer, Accountant and Guardian of the cheque book. And Ida is to be remembered also as a consistent annual exhibi tor in the Group, of her beaut i ful ly crafted tapestries, many for tunate owners of her f ine pieces wi l l recall buy ing them f rom a Group Show.

It is in the nature of events, and art, and artists, that they recede into the annals of t ime, and so it is wi th the Chr is tchurch Group which served such an important role in the development of New Zealand Art th roughout its 50 years of activity.

It must have been for more than half this era that Ida Lough gave generously of her met icu lous service, both as an artist and as Treasurer of the Chr is tchurch Group. We remember her wi th grat i tude and af fect ion.

Doris Lusk

Work Of R.N. Field Anna Petersen (Art History) is wr i t ing a thesis on the life and work of the artist Robert Nett leton Field. She would appreciate any in fo rmat ion about his works of art held in private col lect ions. All replies wil l be treated in conf idence.

Anna Petersen may be reached in the evening at 588-544.

STOLEN Stoneware Jar, by Roy Cowan

This jar was stolen mid-September.

Should it come to your attent ion wou ld you please not i ty the

police?

The theft has been reported to the Central Police Stat ion,

Chr is tchurch.

Property of: W.A. Sut ton,

20 Templar Street,

Chr is tchurch 1.

Phone 61-309.

Missing Etchings Five prints were stolen f rom the wall in the Print Room on the 23rd August .

The tit les and numbers are: The Jube 15/30 Lakeside 15/12 Silver Star 24/30 Weisental 9/30 My Cat 21/25

Anyone offered these etchings should please contact us, or the pol ice, and please be aware that the edi t ion numbers may have been changed.

We reproduce one work, Silver Star by Gary Tr icker

Sponsor a Stone The Canterbury Museum is asking for f inancial assistance to s t rengthen its cen tu ry -o ld exter ior wal l to comp ly wi th earthquake standards.

For this Sponsor a Stone' appeal donors are asked for a min imum of $10, and there wil l be a permanent acknowledge­ment of cont r ibu t ions made.

The museum wou ld be grateful to accept donat ions, (which are tax deductable) at the museum desk or by post.

I'TjE PJCTaRE STjQP in Campbell Grant 196 Hereford Street, Christchurch

ARTISTS - have your pictures framed in our specialist shop (near Lat imer Square) Large range o f Mould­ings 10% discount for C.S.A. Members.

Fine Jewellery in gold and silver

by

Guenter Taemmler C S A Gallery 66 Gloucester Street Carina Jewellers 15 Chancery Lane Caratelle Jewellery Merivale Mall

j V. Victoria ^nttques

(Next to Clock Tower) 93 VICTORIA STREET CHRISTCHURCH, N.Z.

TELEPHONE 790-408 A.H. 327-139

The New Zealand International Festival of the Arts

March 5-26, 1986 Wellington

Joan Sutherland

Royal New Zealand Ballet

Alec Macowan

Berlin Staatskapelle Orchestra

"Napoleon"

Allen Curnow

Richard Bonynge

Wellington City Opera

Downstage, Circa, Depot Theatres

New Zealand Symphony Orchestra

Musica Antiqua, cologne

and much, much more!

International light and serious music, theatre, dance, tapestries, paintings, sculpture, ceramics, puppets, mime, literature and an

exciting "fringe" that provides a full and colourful Festival programme!

Friends of the Festival

Become a Friend and enjoy * Priority booking facilities + Quarterly newsletter + Eligibility to join the Festival Club * Opportunities to meet performers + Access to group travel arrangements

Individual membership fee of $25 00

For enrolment as a Friend of the Festival write to: NZ International Festival of the Arts PO Box 11742 Wellington

Nelson Suter ART SOCIETY LIFE DRAWING — PORTRAIT COURSE Tutor: Paul van den Bergh

January 21 , 22, 23, 24, 25, 26. 1986. If interested in tu i t ion on any of these days

Contact: Mrs M. Major 21 Grove Street Nelson Phone 88-180

THE WANGAPEKA SUMMER SCHOOL November '85 — February '86 The vision: The summer school p rogramme is dedicated to unfo ld ing a universal vision — the fu l f i l lment of our human bir thr ight, namely realizing our creative potential for cont inual g r o w t h in awareness and u n d e r s t a n d i n g and w o r k i n g compassionately for the health and wel l -being of all people.

The Wangapeka Centre is situated 90 minutes south west of Nelson.

Course: The Roots of Experience November 18-December 21

Children's Camps Senior (10-13 years) December 28-January 4 Junior (5-9 years) January 6-January 13

Speak Easy January 16-January 25

Living Architecture January 27-February 5

Active Imagination and Art February 8-February 28

For Brochure: Wangapeka Summer School Wakefield RD 2 Nelson Telephone: Nelson 34-221

Chr is tchurch 56-628

LETTER TO MEMBERS

Artist Expounds on Critic's Review Dear Madam,

I read wi th interest the review of my work (John Parker's Art). Chr is tchurch Press 9/10/85, by John Hurre l l , much of the commentary was intel l igent ly reasoned wi th in the context of Mr Hurrel ls own viewpoint , unti l the end of the review where the more overt emo t iona l d i spa ragements , for example reference of my work to recent Graduates (whatever their worth) and such terms as ' thrashed out', 'derived abstract ions' and overreact ion which I feel were probably used to conceal Mr Hurrel ls inabi l i ty to read the intent ion behind my work, or perhaps my approach was in anti thesis to the concept ions Mr Hurrel l has for his own work.

He was closer to ident i fy ing my intent ions when he stated the ' forms seem cramped and ungainly ' . My works were more concerned wi th a state of mind than an aesthetic exercise and so I wonder how it is that Mr Hurrel l when he could obviously see in the gr id paint ings that there was an irregulari ty of handl ing did not ask the quest ion, 'Why this was so?'. It wou ld have been relatively easy for me to take out the masking tape as Mr Hurrel l does and set the forms precisely, but that is where Mr Hurrel l and I differ in our approaches.

I prefer to walk the t ight rope of using my hand and eye judgement at the risk of having change imposed by the act of do ing the paint ing. This risk of being 'wrong ' creates its own form of dynamic tension and far f rom being casual, a l though the approach needs to be kept consistent ly open, I r igorously edit the works so that all shifts and changes are intuit ively f ixed, for example wehther squares should advance or recede, and decide when the const ruc t ion seems complete, and the shapes wi th in reach a balance wh ich satisfies me.

The intent ion of the gr id of squares has two purposes, one is act as a foi l for the space beyond, the other is to break both f ield surfaces as an opaque subst i tute for a sense of space. That cou ld only be achieved otherwise by using transparencies. The change in the scale of the squares in relation to the sur round ing space is to produce an ambigu i ty of dominance between both elements wh ich far f rom being the result of indi f ference on my part as Mr Hurrel l implies is absolutely del iberate.

The fact that the squares have in them individual changes is also absolutely del iberate, more in tune wi th the imperfect fragi le geometr ies of nature such as spiders webs, swans nests, and birds eggs. The aim in fact is for a humanised geometry

revell ing in the chance ot being s lumped, ungainly and most of all vulnerable, it is ant i -heroic and probably quite absurd, but it is much closer to the everyday realit ies of my lifestyle. Yet behind these signs and references my own intent ion for my work is to put together a visual survival kit for the soul made f rom my part icular experience of the wor ld .

All abstract ion in its init ial stages symbol ised a desire to reach another more potent state of reality. Images were dredged from the corners of the mind in an effort to encompass a greater spir i tual state of being. This is t rue of Afr ican Masks, Early Christ ian Art and Japanese Pottery, the images thrown up, of ten universal and archetypal , were sensed and seen rather than reasoned, my aim is to f ix simi lar ly elusive transcendent feel ings however vague in the body of the paint. My works carry w i th in their surfaces, my physical reactions to my env i ronment whether it be sand, sea sky or land, or simply the changes of l ight, but not exclusively, and a l though it may be unfashionable at the moment it is very di f f icul t to d iscount the potency of landscape when you are constant ly surrounded by it.

I hope this account of my intent ions whether realised or not will help Mr Hurrel l to understand more ful ly the nature of my approach. Incidental ly Mr Hurrel ls more emotive approach at the end of the review is probably a good sign. These disclosures prove that Mr Hurrel l is not the dispassionate intellect he may wish to appear to be.

Signed: Kind regards John Parker

TRAVELLERS ABROAD RELATE MEMORABLE MOMENTS. This i ssue t e n d s t o w a r d s an i n te rna t i ona l f l avour as d u r i n g t h e year s o m e of our m e m b e r s have t r ave l l ed o v e r s e a s to w ide l y vary ing par ts of t h e w o r l d . W e a re f o r t u n a t e t o be ab le to sha re s o m e of the i r e x p e r i e n c e s of o t he r coun t r i es , a r t i s ts a n d art.

BARBARA HEPWORTH STUDIO: by Nola Barron In a small hi l ly back street in St. Ives we found the Barbara Hepworth Museum in the former Trewyn Studio and home of the artist.

Dame Barbara Hepwor th was born in 1903 and at 16 decided to become a sculptor. After she died on 20 May 1975 her executors establ ished the permanent co l lect ion in the Studio and its garden. This is now administered by the Tate Gal lery and houses some of her maior pieces, with photographs and statements about sculpture.

Five showcases conta in snippets of personal memorabi l ia inc luding her student days in London and Italy, her t ime in Cornwal l f rom 1939, to the international recogni t ion that came late in life.

In the room upstairs the smaller sculpture exhibi ted also ranges th rough all per iods of her work ing career. There is a carving f rom 1929 in Black Burmese wood of a small s t rong baby model led after her son Paul Skeaping and beside it a large paint ing, Two Figures, (heroes) painted in memory of him and his navigator who were ki l led whi le serving in the RAF in 1953. It uses st rong linear geometr ic f igure forms and soft blue, grey and white colours.

The abstract scu lpture inc lud ing the str inged f igures and pierced fo rms is made in plaster, wood , marble, brass, alabaster and stone. The pieces exist harmoniously together in the bare white room furnished wi th some of the or ig inal furn i ture and oatmeal curtains.

In the garden Barbara Hepwor th created spaces for the larger bronzes and stone sculpture sur rounded by trees, shrubs & roses.

The exter ior is an extension of the l iv ing and work ing spaces Outside the natural l ight f i l tered and f l icker ing th rough the branches plays in the facets of the sculpture and inside the s u n l i g h t t h r o u g h the h i gh w i n d o w s t h r o w s in to s tark prominence the st rong model l ing of the forms.

The workshop and studio remain as they were at the t ime of her death. The maquettes feature her later interest in recti l inear forms in groups. Partly f in ished work, tools and equipment clutter the space as they do in most studios.

The presence of the artist is all a round, her work epi tomis ing her statement that "scu lp ture to me is pr imit ive, rel ig ious, passionate and always, always af f i rmat ive" I wou ld recommend a visit to this museum to any members going to Cornwal l .

Three uprights with circles (Mykonos), 1966 Barbara Hepworth Photo: A.M. Hammacher's

Statement by the Artist: It is di f f icul t to descr ibe in words the meaning of forms because it is precisely this emot ion which is conveyed by scu lp ture alone. Our sense of touch is a fundamenta l sensibi l i ty wh i ch comes into act ion at birth — our stereognost ic sense — the abil i ty to feel weight and form and assess its s ign i f icance. The forms wh ich have had special meaning for me s ince c h i l d h o o d have been the s tand ing f o r m ( w h i c h is the translat ion of my feel ing towards the human being s tand ing in landscape): the two forms (which is the tender re lat ionship of one l iving th ing beside another) : and the closed f o rm , such as the oval, spherical or pierced form (sometimes inco rpo ­rating colour) wh ich translates for me the associat ion and meaning of gesture in landscape; in the repose of say a mother and ch i ld , or in the feel ing of the embrace of l iving th ings, either in nature or in the human spirit. In all these shapes the translat ion of what one feels about man and nature must be conveyed by the sculptor in terms of mass, inner tensions and rhy thm, scale in relation to our human size and the qual i ty of surface wh ich speaks th rough our hands and eyes.

From the catalogue of the Barbara Hepworth Retrospective Exhibition, at the Whitechapel Gallery, London, 1954.

"Painters inherit characteristics acquired by their forerunners: that is why no important work of art can belong to any period but its own. to the very moment of its creation. It is necessarily dated by its own appearance. The conscious will of the painter cannot intervene. An appearance which is deliberate and results from a desire for originality is sham; every deliberate manifestation of the personality is the negation of personality

"The essence of painting is the expression of certain relationships between the painter and the outside world, and that a picture is the intimate association of these relationships with the limited surface which contains them."

— Juan Gris —

A JOURNEY — SOUTHERN ITALY 1980-1981 by Alan Pearson Having made a brief visit to Italy in 1976 I was intr igued enough to want to return and touch the core (if possible) of a cul ture wh ich had in f luenced the rest of Europe in the Arts of Paint ing, Scu lp ture and Opera to such a high degree. Butl This t ime I thought I shou ld go to the South of Italy away f rom the main centres and soak up some non tour ist ic aspects of the Ital ian an ima. My wife, ch i ld and I travelled by bus to Bari in Pugl ia and then went inland ending up in the town of Matera wh ich is s i tuated between Potenza and Bari .

It was a fasc inat ing place in a way because in the summer no th ing seemed to move but the cockroaches, most of the popu la t ion had made a bee-l ine for the coast. Yet there existed a un ique st i l lness inter laced wi th sharp l ights and darks. Matera was dominated by a large ravine wh ich descr ibed the history of the people. It went back in t ime some 2,000 years; the evolut ionary history starts f rom the caves cut out f rom the rock at the base of the ravine close to a stream and protected f rom the sun , these cons is ted of homes and churches. Gradual ly they move up, one on top of each other up the hi l lside unt i l houses appear made of coarse rocks suppor ted by l intel arches then on top of those appear others wi th keystoned round arches — cool in summer, dreadful ly damp in winter. Near the top they give way to the 17th and 18th century palazzos and f inal ly, free at last, the 19th and 20th centur ies comb ine in stone, marble, steel and concrete to def ine what cou ld be classif ied as progression. Sti l l ! the ghosts of the past dominate . I tr ied at first in my drawings to describe the skul l - l ike state of these peoples ancestors, everything seemed skeletal. The flesh had gone yet one felt that they were star ing at the present t ime wi th apprehension. They began to appear l ike ant ique musical composi t ions, a skeletal al togetherness, a place of no escape, a series of parched monumenta l headstones shr ink ing gradual ly f rom the glare of each days sun.

I painted some var iat ions on the local Cathedral wh ich was in the baroque style. It was obvious that the Cathol ic rel igion had a great hold on the previous generat ions and had been a great inf luence in giving def in i t ion to their existence and hold ing them together. In that Church there was a dustiness that lay l ike a shroud over the marble stone and canvas as it also did on the town . Always I had the feel ing of A.D., A.D., A.D. stamped on everyth ing and also J.C., J.C., Jesus Christ who had been so instrumental in keeping these people together for such a long t ime. My compos i t ions started to use these symbols and the myths they perpetuated, started to give a

somewhat musical and t ime or ientated certainty, a sort of requiem for the erosion of t ime past, the dying of that physical body and also to its spir i tual soul.

It was less important to a degree for these people than it had been previously i.e. In that same distr ict the people now living had been consumed by their cars and possessions and the Church had become more ornamental to their needs. On top of the Ravine Matera showed the inroads made by Western science, E.E.C. and consumer ism. The Church and the past were histor ical landmarks, a kind of 'we keep these th ings go ing because that's part of our heritage but whether we believe in it or not is another th ing ' .

The large earthquake of November-December 1980 hastened our departure for the grey mists of a social ly d is integrat ing Anglo-Saxon wor ld but I shall always be thankful for my sojourn in Sud Italia. Later, I resided in Tuscany but Italy to me is in that bare and at t imes barren but more interest ingly rugged South.

Viva Italia!

Memoirs of my Travels by Lily Lewis We left New Zealand in late March f ly ing to Amer ica via Honolu lu , so that it was Spring in New York when we arr ived. We lost no t ime in go ing into New York ci ty to visit the Museum of Modern Art. It took about three hours to get into the heart of the City, the traff ic being slowed almost to a halt at the various tol l gates and bridges. Everywhere on the walls, cliffs and sidewalks on the way into the Ci ty and wi th in the city itself (even on cars and vans) was graff i t i done by the young people of the city who sleep in derel ict bui ld ings and come out at night and do this. Often it is like a r ibbon of convoluted abstract designs snaking itself over a cliff, down onto an old warehouse wal l , across the pavement and cont inu ing on over more bui ld ings and even into the sidewalk and over the street and back up bui ld ings again. It is done by groups of young people who wou ld do about say six or seven metres each and then someone else would take over. It is co lour fu l and some very clever and good design work. It is the poor street kids who do this and somehow it adds to the gaiety and exci tement of New York. Stop anywhere parked too long and your car is l ikely to have a small smatter ing of it when you come back perhaps done in chalk. It is an outlet for the creativi ty of these kids.

There was a showing of Henri Rousseau's works gathered at the Museum of Modern Art, chosen f rom all around the World for the occassion, so consequent ly we had to jo in a c rocod i le down the road to get in. There were hundreds of

Rousseau's works inc lud ing "The Dream". In Fact, there were three versions of this one paint ing and I had only ever seen one in books. There were lots of smal l very dark paintings as wel l . Then we moved to the General Sect ion. The Museum owns most of the important Stil l Life paint ings of Cezanne, part icular ly those w i th the whi te c lo th and the apples — the whi te c loth being left unpainted canvas (almost a th i rd of the canvas left unpainted in lots of cases) and they looked superb They were all heavily glazed. We saw Van Gogh's "Starry Night' and the paint surface s tood out at least an inch th ick all over and it was very heavily glazed indeed. There were two whole large rooms devoted to Matisse paint ings inc lud ing "The Dance" wi th red male nudes and a who le room full of small b lack and wh i t e d r a w i n g s of w o m e n s ' heads w i t h an astonishing faci l i ty of line. There were paint ings by Leger Gris, Braque, Chagal l and several paint ings and bronze sculptures by Picasso inc luding several f rom his Negro Period wi th the heavily incised lines giving them a strength and power and presence wh ich seemed to vibrate in the spr ings of our own emot ions. We also saw his "N igh t Fishing at Ant ibes wh ich was to evoke an echo later when we were in Spain We spent almost the who le day in the Museum and then only saw a small part of their wonder fu l co l lec t ion. They did have Picasso's randy look ing old goat cast in bronze wi th a basket for a belly and clay pots for hooves — the very essence of goathood. We stayed another two weeks in New York State and then left for England arr iv ing at Heathrow on a c loudy, misty cold spr ing morn ing . We spent four days in Warwickshire visit ing Coventry Cathedral dur ing that t ime, and being fi l led wi th awe by the stark s impl ic i ty of the o ld burnt out cathedral left s tanding. I t ingled with awe at the feel ing of the place — you cou ld a lmost hear the Demoniacal laughter and mock ing of Demons as oppossed to the Powers of Good engendered there. Hitler, when he sought to br ing the Brit ish people to their knees by bombing the cathedrals and places of worship, had not reckoned wi th the Bri t ish love of the fey, the occul t and rel igious, and their st rong pr ide in their t radi t ions. The place was holy beyond all measure. After all the Druids worsh ipped on this spot long before Chr ist iani ty and it has always been a hal lowed spot. We visited St. Mary's church in Warwickshire with its marvel lous carvings and four teenth century stained glass windows. A lot of the nobi l i ty inc lud ing the Duke of Warwick who was Queen Elizabeth the First's lover, are bur ied in the crypt . The carvings on the pews down in the crypt (a church wi th in a church) were about four teenth century and were t imeless in their s impl ic i ty and design.

Because it was so co ld in England, we went to an Apar tmento in Spain for three weeks to wait for England to warm up a bit. Certainly Spain is all we ever dreamed it wou ld be. The Mediterranian Sea really does sparkle in that r ich deep blue

and by contrast the apartmentos and houses seem so clean and white — some ot them appear to g low a pinkish co lour by impl icat ion by vir tue of the pale green palms and deep blue sea. It cries out to be painted in an abstract manner. We visi ted Malaga wi th its wonder fu l l y intr icate, almost Moorish, wrought i ron and Ceramic work some of the designs on the very large platters being very evocative of Picasso's designs on plates. Seemingly Picasso borrowed more f rom his heritage than I had at first thought as Spaniards have been doing these br ight co lour fu l designs on pottery for centuries. We saw lots of l i t t le Spanish dogs, wool ly, white, quick, sharp and small — just like the ones in Old Master Paint ings of dogs in boudoirs . I have not seen anyth ing remotely like them either here or in England. We walked l i terally miles over the hil lsides in spain, some of the views across the plains wi th whi te-washed cot tages and f ields of crops in order ly rows being very much l ike a view in a Van Gogh paint ing. I did lots of small water-co lours there. The view f rom the top of the hills towards Mijas made me wish I'd had oils w i th me. We watched a Spaniard f ishing for a large fish wi th a net and a spear one night just like in Picasso's paint ing of "Night f ishing at Ant ibes," the wi ly old f ish being far too clever to be caught. The Spanish are happy and gay, a bit l ike our Maoris, in fact some of the designs on their f ish ing boats are very similar to the Maori designs on canoes. The similar i ty of some of the decorat ive designs in Spain and those here in New Zealand is quite remarkable. We were reluctant to leave the Costa Del Sol to f ly back to England to spend the rest of our hol iday caravanning around Devon and Cornwal l where it rained and rained and rained. A lot of the very o ld stone cottages in England have c rooked "backs" because of age. They reminded me of the c rooked roofs in Van Gogh's paint ings. I'd always thought he had distorted them for effect whereas, often in Europe, they are really like that because of their age. There is lots I'd like to say about Cornwal l , Devon and Dartmoor in part icular, but space does not permit .

Scouting The British Art Galleries by Bruce Finnerty Been four weeks now in London, so have had a good chance to get around and see everything inc luding some of those 250 exhibi t ions that are current ly on .

It was good to have the oppor tun i ty as now I have just f inished work ing and there is just not enough t ime anymore.

My first venture was down to the Barbican Centre where R.O.N.A. (The Register of Naive Art ists) were ho ld ing a major exhib i t ion of Bri t ish Contemporary naive artists. Inc luded

among the many artists exhib i t ing was one of Bri tains foremost contemporary naive art ists, Cleveland Brown wi th his works in the col lect ion of the Arts counc i l of Great Bri tain and other major publ ic and private co l lect ions. One of his works depicted the Not t ing Hil l carnival , an annual event that I at tended last week.

Next stop was the luxur ious Portman Hotel where Bankers and Arabs mix in the foyer and where appropr iate ly on the first f loor there is a sel l ing exhib i t ion of Dali l i thograhs and etchings. It is a somewhat d isappoin t ing exhib i t ion and indeed the nearby store of Harvey Nichols wi th its w indow dressings in Dali style sett ings is far more interest ing.

At the Portal Gallery noted for its fantasy art a mixed select ion of Brit ish fantasists exhib i t their work. Inc luded are works by the Artist authors. Beryl Cook whose new book due for release later this year is previewed and Kit Wil l iams whose book "The Bee on the C o m b " sparked off a wor ld wide search for the tit le hidden within its pages.

Over to the Hayward Gallery on the South Bank of the Thames. The controversial f igure of David Hockney wi th his exhib i t ion "Hockney Paints the Stage" which includes displays of his work for 9 product ions inc luding Igor Stravinsky's "The Magic Flute" is a t t ract ing large numbers. At the same t ime a retrospective exhib i t ion of Edward Burra is being shown. A member of the English Surrealist g roup when it was first formed in 1936. The works span 50 years f rom 1923 to 1974 and includes some excellent works in Gouache, ink, o i l , and watercolours f rom the 1930's.

The centenary of the bir th of Howard Coster is celebrated at the National portrai t Gallery wi th over 130 photographs f rom the period between the wars, featur ing leading f igures from the wor lds of art, letters, music, theatre and f i lm. The 1985 Portrait Awards in Art are also being held here, whi lst downstairs an autobiographical show of f i lm and photo records the life of Charles Chapl in .

"Tuscan Summer" is the t i t le of the exhib i t ion at the Francis Kyle Gallery. Seven Brit ish artists invited to an Italian Valley to record their impressions exhibi t their work. No-one saw the works of any other unt i l the exhib i t ion opened as they were not in the valley at the same t ime. This exhib i t ion records a wide variety of work and has proved very popular wi th pract ical ly all work sold and the news f rom paris "Chr is to is going to wrap the Pont Neuf, Paris's oldest br idge.

Well now my t ime runs out and its back to that Idyl l ic life on a Greek Island for 2-3 weeks before arr iving home in New Zealand for the Summer.

Regards to you all

EDDIE SUNDERLAND Sculptor C.S.A. Guthrey Award Winner 1984 Notes from my Australian Study Trip diary 2nd-28th June 1985. Sunday June 2nd Flight 46B Direct to Sydney / picked up a chauffeur wi th a Mercedes 380 sel / grey suit, cap, wi th all the t r immings compl iments of Irene Cobb, Managing Director of Chromia Acry l ica Ltd. I th ink I made Austral ian history by being the first person ever to be driven by chaffeur to the 'Peoples Palace' Pitt Street, Sydney.

Monday June 3rd Visited J im Al len, head of the Sydney Col lege of Art. J im a New Zealander is known to most Chr is tchurch people for his w ind sail sculpture at QEII Park / I was shown around the school — large warehouse closetted off into small studios or work ing spaces — paint ing, sculpture, pr in tmaking glass, ceramics, photography and mult i media studies. The school had attracted some leading Austral ian sculptors and artists as lecturers.

Tuesday June 4th Morning — Visited Chr is Farrell, head of chi ldrens p rog ram­ming A.B.C. Television / had a discussion about ch i ldrens art, craft input into Austral ian Television — I wasn't great ly impressed. Private Television seems to have more oppor tun i ty and f lexibi l i ty concern ing this area.

Afternoon — Walked around down town Sydney — busy, fast, food smells, di f ferent voices, large bui ld ings, a large ou tdoor sculpture by Bert Flugelman in Mart in Place but no one except myself seemed to not ice it. Made a visit to the Sydney Barracks and the Mint tak ing in a bit of histor ical Austral ian cu l ture.

The Art Gallery of New South Wales — "The Bri t ish S h o w " a major exh ib i t ion of contemporary Bri t ish art. The show reflected a controversal recent wor ldwide return to ob jec t -based art pract ices. This show was a real inspirat ion to me especial ly the work of Br i t ish scu lp tor John Davis, the assemblage of Tony Cragg and the imposing and evocat ive life size lead f igures of Antony Gormley a show wor thy of more than one visit.

That night I was invited by Ian Howard of the City Art Inst i tute to an opening of a Photography Exhib i t ion at the Ivan Dockety Art Gal lery (no dif ferent to New Zealand Openings)

Visited Macquar ie Gal lery very upmarket New York type dealer gal lery wi th a select stable of 30 to 40 artists. Very business like, plastic, unreal , ho ld ing the artist up as an idol type gal lery. The work of assemblage painter Col in Lanceley was on display wi th pr ices ranging f rom $3,000 to $23,000.

Wednesday 5th June I was guest ot the City Art Inst i tute — reputed to be one of the largest art schools in the wor ld (700 students 60 fu l l - t ime staff and 75 part - t ime lecturers).

Afternoon — A t tended a per formance at the City Art Insti tute by "The Even Orchest ra" — a mult i media presentat ion by 6 fu l l - t ime music ians and artists.

Met the Pub l i shers of " T h e Aus t ra l i an A r t i s t " a newly establ ished art magazine. Thursday 6th June Morning — Visited "Waiters Gal lery". Especial ly interested in the work of John Davis, Ian Howard , Cl i f ford Last and Robert Kl ippel . At the City Art Inst i tute I gave a sl ide lecture to a g roup of year t w o s c u l p t u r e s t u d e n t s ( a b o u t my o w n w o r k of assemblage).

5.30 pm I left the Art School and walked down Oxford Street in the pour ing rain back to my hotel / I'll never forget the sensory exc i tement of the teeming rain, the tantal iz ing smell and sight of s teaming hot exot ic food in the shops — the f lashing l ights of the sex shops and the hurr ied pace of homeward bound traff ic and people. Friday 7th June Viewed Sydney f rom Centre Point also visited the U F O . Show. Revisited "The Bri t ish Show" at the N.S.W. Art Gallery. Saturday 8th June Visited the Museum of New South Wales and was fascinated wi th the skeleton co l lec t ion especial ly the Bone Ranger on the horse. The co l lec t ion of New Guinea Art i facts was equal ly fascinat ing.

Tuesday 11th June Rev is i ted Wat te rs G a l l e r y and met Marr G r o u n d s , an env i ronmen ta l scu lp to r w h o was se t t ing up a show of sculpture, pr ints, photographs and publ icat ions. Great stuff. I then visited the Roslyn Oxley 9 and Avago Art Galleries and saw an exhib i t ion of Mike Parr drawings.

Had lunch wi th Trevor Weekes a sculptor who is reputed to be Austral ias resident art ist ic Archaeologist . Trevor had a great sense of humour and we hit it off straight away. I spent the rest of the day vis i t ing his studio and discussing common interests in f l ight, humour and his Mickey Mouse and f ly ing helmet col lect ions. Meet ing Trevor Weekes was a real h ighl ight of my tr ip. His exhib i t ions are wel l known in Austral ia for their gent le leg-pul l ing, humour and absurd wackiness.

Wednesday 12th June Travelled f rom Sydney to Canberra by train (4 hours). Wow! what a contrast w i th Sydney Sydney seemed so fast and cramped and Canberra so new, spacious and open wi th trees lakes and wide roads.

Thursday 13th June Went to the National Gallery. Wow! what a museum, I walked straight into a series of Ned Kelly paint ings by Sydney Nolan. Kelly's typical black square and slit eye stood out fo rming a powerfu l symbol of a man apart. (Ned Kelly is one of my heros). Turn the corner Hey! A c a l d e r . . . A man Ray . . . Andy Warhol . . . Jackson Pol locks Blue Poles . . . Joseph Beuys the works are so large and powerful l . . . Rauschenberg . . . O ldenburg and Micky Mouse . Drawings by Jasper Johns . . . What a feast of art and more to be consumed in the sculpture garden Rodin, more and more and more. I made contact w i th John McFee curator of decorat ive arts at the National Gallery. He very kindly arranged for me to visit the small pieces store room . . . What t ight securi ty and such a large staff all for the sake of art. Friday 14th June

My Micky Mouse watch failed me and I slept in . . . So I had to get a taxi off to "The Canberra School of Ar t " where I was to meet Ron Robertson-Swan, Michael Le Grand and Mark Smith all sculptors of the Caro t radi t ion as well as being lecturers in sculpture at the school .

Afternoon — The National War Museum — full of assemblage ghosts of the past.

My visit to the National Gallery and the War Museum tr iggered outburs ts of though t . . . There's room for everyone in sculpture — The Performance / The Humour of Weekes, Mike Parr chop your arm off types/ The Video / The f igurat ive etc . . . But some seem intent on f ight ing among themselves for recogni t ion or someth ing — of what? For what? A lot of the sculptors I had met so far had all tr ied performance art, some frantical ly keeping up wi th overseas trends and others were fo l lowing others when they thought it was safe to do so . . . all this for an acceptance . . .

Recogni t ion seemed an under ly ing dr iv ing force in the wor ld of impulsive recogni t ionists . . . A drive to the top . . . A place in history . . . Mortal i ty th rough art . . . housed in Museums the Temples of art.

The f igurat ive, the universal, mortal i ty, honour, death, war, memor ies , l i fe after, love, hope, quest ions unanswered , puzzles, breaking of boundaries, ref lect ing on the past, objects of meaning, objects of universal meaning . . . The cruci f ix , the cross, the f igure, the hole, the project i le, the spike, lead and earth bound, the feather, f l ight, space, U.F.O's, ancestory, m o t h e r h o o d , b i r t h , sex, joy , s o r r o w , hate, r e s t r i c t i o n , f rustrat ion, insanity . . .

I think I'd better end there a l though on the other hand artists can be regarded as semi Gods, important , special people, unapproachable. Wow! is this h im or her? In reality most are very ord inary and likeable wi th or wi thout a fami ly l ife . . . no real bul lshit about them . . . unl ike some of the pretenders,

promoters, middle people connected wi th some art temples the sellers the moneymakers. . . . "Get out of our Temple1

. . . I had another can of beer and went off to sleep (ah! thats better).

Saturday 15th June Caught a train to Melbourne (8 hour t r ip) . . . . "The buffet car is now open for ten minutes for light refreshments and take aways" . . . . . . "The next stat ion is Waga Waga" . . . . . . "The buffet car is now c losed" . . . . . . "Tickets Please" . . . "Tickets Please"

Sunday 16th June Turner Exhibi t ion — The Art Gal lery of Victor ia — I was surpr ised by the small size of his paint ings / blue paper was used wi th finer detai ls being put in wi th penci l and very fine brushes / l ight, mist, aerial perspective.

South Austral ia 22nd-25th June

Adelaide — visited "The Jam Factory" — a large art and craft co-operat ive factory.

Saw some very interest ing assemblage by Helen Lil lecrapp and Karen Genoff at the Art Gal lery of South Austral ia.

Spent a day sampl ing wine in the Brossa Valley Museum of South Austral ia — I th ink I now know why skul ls and skeletons are used in the work of many assemblage artists. The museums are ful l of skul ls, masks, the t rophies of the head-hunters New Guinea and the Pacific Islands, heads of loved ones enemies preserved for mortal i ty. — I was also fascinated with the col lect ion of weapons, spears, arrows, c lubs, kites, the b indings, barbs, designs, jo in ing systems and methods.

I also learn't that the Mickey Mouse character or ig inated from an early Egypt ian God Apol lo Symethis. My Mickey Mouse watch has suddenly taken on a new meaning.

Melbourne 26th-27th June

I spent much of the last two days of my study tour as gues: of Rusden Campus.

I visited the Pop Art 1955-1970 Exhib i t ion at the Victoria Gallery and also went to a lecture about pop art.

A fantastic show and a l i fet ime chance to see the work of some of my artist heroes in the f lesh. People like Jasper Johns Claes O ldenburg , Roy Lichtenstein, Robert Rauschenberg George Segal, Andy Warhol and J im Dine.

Thursday 27th June

My last full day in Austral ia was spent at Rusden Campus Viewing and l istening to a four sl ide and video talk of recent

video and computer generated art by "Rande l l i " or individual ly known as Rober t Randa l l , Frank Bend i ive l l i and Steve Goddard. A very protessional g roup of art ists ident i fy ing wi th the pop artists of the 1960's and using the technology of the eighties. . . . Be coo l / put objects in galleries and cal l it art Duchamp's urinval / the precious object / mass product ion of visual images / the s ignature is a good sign of good work? The artist is more important than his work / Warhol / It's art because the artist made it? / who selects the important artists in the first place? / Ask quest ions / be cool / do cool th ings / be trendy / suck up to the right people / shock / put down / humour / sell yourself as a product / dress right and don't miss an oppor tun i ty / become a reviewer of art exhib i t ions / contro l and power those who make it / those who don't / the haves and the have nots / What the hell! . . . That feels bet ter . . .

Friday 28th June Made contact wi th John Davis a sculptor and lecturer at the Victorian Art Schoo l . Returned to New Zealand . . .

Overall a very s t imulat ing well wor thwhi le and refreshing tr ip / a gain ing of conf idence / a seeing of my own work in relation to other work / a broadenning of perspective / some valuable contacts were made / a wealth of ideas and in format ion have been col lected, accomodated and not yet fu l ly assimilated / growth and reinforcement of commi tment and phi losophy / a more global view of where th ings are heading.

Many many sincere thanks to the C.S.A. Counci l and Gallery Staff also Guthery Travel and the Department of Educat ion for making this t r ip possible.

Eddie Sunder land September 1985.

Eddie wil l be giv ing a talk at the A G M , enlarging on some aspects of his tr ip and personal experiences in Austral ia, and wil l show items of interest.

Views and Reviews

THE VALUE OF ART WORKS by TED BRACEY University of Canterbury School of Fine Arts Everyone has someth ing to say about the value of art works yet no topic of discussion about art is more confused. Two kinds of confus ions seem paramount . The most obvious arises f rom our fai lure to d ist inguish between l ik ing art works and valuing them. Most people, for example, assume that if they like an art work it must be wor thwhi le and if they don't , then it has negative value consistent w i th the extent of their disl ike. Yet a moments intel l igent ref lect ion wil l reveal that there is noth ing inconsistent in l ik ing someth ing which is valueless and f ind ing great value in someth ing we disl ike intensely. Our likes and disl ikes, then, should never be al lowed to intrude upon our efforts to determine the value of art works.

A further and more signi f icant confus ion arises f rom the commonly held assumpt ion that whatever value an art work has, it is somehow in the work itself. Such an assumpt ion produces the expectat ion that we can actual ly see such value, perhaps in such th ings as the way a subject is rendered, the way materials are used or in the way a compos i t ion has been const ructed. Seeing value in this way, however, involves a confus ion about the nature of value itself and the way it funct ions in relat ion to art works, since, whatever value a work might be said to have it is not bui l t into the work itself but attached to it.

Values, whether of art works or anyth ing else, func t ion like labels. We attach them to objects or events to serve some social purpose, whether moral , legal, economic or art ist ic. And just as we can put them on we can change them or take them off altogether.

Discussing the value of art works, then, involves ta lk ing, not only about the values already attached to them, but also, about how such values came to be attached in the first place, by whom, for what reasons and, perhaps most important of al l , in whose interests.

Looked at in this way, the quest ion of value in art works cou ld take much of the st ing out of what passes for art cr i t ic ism in New Zealand.

Visual Arts Education Sympo­sium 1985 A report by Evan Webb The Visual Arts Educat ion Sympos ium was organised by the Elam School of Fine Arts in con junc t ion wi th the Centre for Cont inu ing Educat ion at the University of Auck land. Held at the end of August , it at tracted over 130 people inc lud ing; ar t is ts , adm in i s t r a to r s , museum and ga l le ry pe rsonne l , academics and teachers.

Subt i t led, ' towards the Nineties — Source and Resource', the sympos ium addressed the fo l lowing quest ion:

"Are the boundar ies between arts and crafts real?"

"Do we value and encourage the cont r ibu t ion of groups such as Maori , Polynesian, or women in arts educat ion?"

"Should we respond to the computor and new technolog ies?"

"When wil l our art educat ion reflect commun i ty needs?"

The response to these quest ions came partly f rom a series of keynote speeches presented both at the John Waitit i Marae, where the sympos ium was opened and at the new Archi tectura l Conference Centre on the Auck land University Campus. Whi le on the marae, carver Paki Harr ison and weaver Mavis Tuoro explained something of the r ichness and depth of their visual cul ture. For some this was their f irst experience of hui and many felt that learning about Maori language, the carv ings and the geneology in the context of the meeting house — th ings wh ich cannot be separated — was far more appropr ia te than isolat ing aspects of the cul ture in fore ign contexts like universit ies.

Whi le most papers dealt w i th spec i f ic issues on ly one at tempted to address the under ly ing cause for the problems facing art educat ion in New Zealand. Ted Bracey, lecturer in Art Educat ion at Nam, adopted a socio logical perspective in his paper. He p in-po in ted one group as being the cause of the problems by imposing its values and views upon the rest of society and thereby prevent ing other values and interests like those held by Maoris and women f rom being promoted and suppor ted.

The keynote addresses punctuated three intense days of d iscussion and debate. From this arose many recommenda­t ions and the fo l low ing resolut ions:

a) We support the Maori r ight to the sel f -determinat ion. We support the urgent a l locat ion of resources to the Maori people. As a first step we endorse the Maori communi t ies c la im to the North Shore Campus of the A.T.I.

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b) We ask that this Labour Government introduces legislat ion to require all government funded inst i tu t ions to take aff irmative act ion in favour of Maori and Pacific Islanders and women of all cul tures.

c) Al l in-service t ra in ing courses regardless of discipl ine, address the issues of racism and sexism.

d) Whilst we recognise the change in the arts cur r icu lum as being exci t ing and construct ive, adequate funding must be made available on a local level to a broad range of communi ty based art faci l i tators and groups.

e) A l though these resolut ions were adopted by the symposium they were not all passed unanimously. Most agreed wi th the sent iments or pr incipals expressed in the resolut ions but several d isputed them in detai l .

It looks l ike a similar symposium might occur next year, wi th Chr is tchurch being the venue.

RICHARD BIGUS November 13-24 Preview 12 November Tuesday at 8pm Richard Bigus, graduated f rom the Universi ty of Southern Cal i fornia, Santa Cruz, and gained a Masters in Fine Art at Yale University. He is the visit ing lecturer in Design at the Canterbury School of Fine Arts.

Richard Bigus sees the role of the graphic designer (and as well all visual artists) in our era of increasing in format ion and commun ica t ion technology as cha l leng ing, and sees the technology simply as a creative tool .

" In l ight of the evolut ion of man's communica t ion technology, just consider that in its earliest stage wri t ten language was thought by ancient phi losophers to cause forgetfulness. The nature of the artist makes him suspect that man may become the slave to technology instead of the reverse. But perhaps if the artist considers the computer as an apprent ice, he wil l jo in the 21st Century."

KERRY-ANN BOYLE November 13-24 B.F.A. Submission preview 12 November 8pm Photographs Born 1960 in Auck land

This year I am comple t ing a B.F.A. in photography. The exhib i t ion wil l consist of black and whi te photographs from the project I have been work ing on this year under the title 'Power and Beauty'.

Also included wil l be SX — 70 Polaroids f rom a separate project 'colour in the Environment ' .

• MISS CflNTEgj? M

mi I E i s k m > mm

Photo by K.A. Boyle.

TERRY URGAHN November 13-24 Preview 12 November at 8pm. B.F.A. Submission Born 1961 (New Plymouth)

University of Canterbury School of Fine Arts: 1981-1985.

This year I have been studying part- t ime to complet my B.F.A. in paint ing. I am current ly work ing on large shaped paint ings, which may appear abstract but have a number of f igurat ive references. I am interested in using colour, shape and line in sharp contrast in exper imentat ion wi th space and to prompt visual associat ions with aspects of l i fe. I feel it is up to the viewer to make these associat ions in my work and any sort of reaction can be sat isfying.

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SAM MAHON November 13-24 Preview 12 November at 8pm Gore: Monday;

Dear Nola,

The sun came out today. It is the tirst t ime in two months. The forecasters say it wi l l stay and for me that is good news because every second day there's been a Fundamental ist at the door t ry ing to sell me a kit-set Ark and I've needed every spare moment to keep marauding t rout out of the vegetable garden.

But today all is peaceful and the green Hokonuis stand etched against a c loudless sky.

I hear you've been f loat ing about a bit yourself , of late, cruis ing the French canals in a motorboat . I th ink that style of hol iday must have been at your insistence. Its not Atol l l ike Owen, he's Mururoa.

Tuesday; The C.S.A. newsletter arr ived at last. Someone thought fu l ly mai led it on to me in a corked bott le and I am beginning to think I have overstated th ings a bit. My other mail was f rom the Registrar of Electors sending back my change of address fo rm wh ich he regrets is not acceptable as it was f i l led out in penci l . I have wr i t ten to in form him it was a Staedtler penci l and that the price of my etchings is on a par wi th my penci l sketches and if its good enough for the patrons of Canterbury its good enough for the bureaucracy of Gore. I expect fur ther correspondence.

Again the sun is f ixed on a blue canvas and I spent the morn ing in the shade of a young wi l low f rom where I cou ld observe the indolent gl ide of three large Mataura trout. As I was plot t ing their demise, I was reminded of Bing Dawe and Noel Gregg two of Canterbury 's f inest f ly - f ishermen. They apply such skill to the sport that they regard barbs as an unfair advantage and their own flies are often so conv inc ing they do not even bother w ind ing them on hooks. The trout takes a bite, looks surpr ised, then, w i th a sardonic smile, leaps out onto the bank to congratu late the artist. But as far as my own plans are concerned, they involve l i tt le of the above subtlety but lean more toward grapp l ing-hooks, nets and high explosive.

On my way back a long the river's edge I spotted two large eggs. They were speckled and grey-green and I wou ld have taken them for a gul l 's except for the antics of a pair of oyster-catchers nearby. The nest is merely a shal low depression amongst the river-stones and the eggs are larger than I wou ld have thought , it is no wonder these birds are red-eyed and bow- legged.

So all n all Spr ing has sprung and I can see that if the weather holds, my exhib i t ion in November wi l l be a rather th in affair. A l though I have been here for about three months already, there is stil l a lot of exp lor ing to be done and if it comes to a f ight, a fine day beats my easel every t ime.

Last night was stil l and warm and the stars came out on the black river as I boi led a last brew before wending home. The air was full of new sounds, predominent ly lambs, and as I gazed off to the south I not iced the sky seemed to be lit by some kind of aurora. When I ment ioned this to my landlord this morn ing , he said it is quite a common event around these parts and is usually caused by Norman J changing f rom one pair of trousers to another.

Many regards Sam

ROSALIE CROSSMAN Preview November 12 at 8p.m. Exhibition November 13-24 — Diploma of Fine Arts (1960) from Canterbury University School of Fine Arts.

This is my first exh ib i t ion. After raising a family of four chi ldren I am returning to the creative f ield I was trained in. Over the years I have taught art in Secondary Schools. Recently I have been do ing part t ime Univers i ty work and have near ly completed a B.A. The University study has been developing another creative interest, that of wr i t ing (English Literature) and drama.

At present my art is rooted in my envi ronment but expresses a strong interest in rhythm, line, co lour and shape.

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WALLACE CROSSMAN November 13-24 Preview 12 November 8pm Dunedin artist Wallace Crossman wil l be exhib i t ing a number of paint ings in the Canaday Gallery f rom 13-24 November.

He is at present a tutor in Painting and Art History at the School of Art, Otago Polytechnic.

The two main concerns of his work are the means of the paint ing and the content which he has developed th rough his experience with the environment. "The best t ime in paint ing are where these two concerns f low together in effortless un ion" .

Crossman's paint ing is the search to make visual statements, that enable him to come to terms with the strong expression of the environment and the reaction people have towards it.

"There is the feel ing of permanence that the mounta ins and hills speak of. The state of tension that exists between the two states of being, solid matter and l iquid mass; as seen on the edge where land and sea meet.

Crossman is part icular ly fascinated by the means of paint ing, which he has explored through the act ion of paint ing, reading and look ing.

Through these two main concerns Crossmans work cont inues to move between the voundaries of the f igurat ive, semi-abstract and abstract work.

GUILD OF WOODWORKERS November 14-28 Preview 13 November at 8pm The Gui ld of Woodworkers covers a wide cross-sect ion of people work ing wi th wood , f rom ful l t ime professionals to hobbyists, boatbui lders to toymakers, furn i ture makers to turners. This cross-sect ion leads to a wide variety of work The exhib i t ion represents the best work that members have produced over the past year, and as such the standards of work are always high.

Work exhibi ted wil l include tu rn ing , wh ich is always well represented with a wide select ion of bowls, both pract ical and purely art ist ic. Carv ing and cab inetmaking wil l also be strongly r e p r e s e n t e d . F ine c o n t e m p o r a r y p ieces c o n t r a s t w i th tradi t ional ly styled work by the furn i ture makers. From the whimsical to the l i fe- l ike, carving blends the more artistic talents of our members.

Variety and qual i ty have improved wi th each succeeding year and no doubt wi l l do so this year, making this an exhibi t ion not to be missed.

EDWARD MACKENZIE November 28-December 8 Preview November 27

Artist's Statement I have been involved in art in a professional capaci ty for a number of years as a tutor and exhib i t ing painter.

I enjoy the manipulat ion of paint and colour as well as the format ion of emblems wi th in the f ield of the two dimensional surface. Each paint ing begins as an init ial interact ion of shapes, lines, marks and colour. Though I might have some general idea of d i rect ion when I begin I am never sure of the f inal dest inat ion but become fascinated in meander ing through sets of painterly and emblemat ic interact ions.

This set of paint ings has been st imulated by the physical envi ronment I am famil iar wi th and the various feel ings and modes it evokes.

My inspirat ion for th is Exhib i t ion is Nicholas de Stael (1914-1955). More part icular ly , I've drawn inspirat ion from the painting "Le Bateau" (1954) (Scott ish National Gallery of Modern Art, Ed inburgh) .

I've long del ighted in this paint ing, but it was not until I moved to New Zealand and the Bay of Islands, that I considered using the paint ing as a point of departure for a series of my own paintings.

My home in Opua over looks a beaut i fu l , ever changing land/ sea scape. A short walk takes me to the waters edge, a stone's throw f rom a mul t i far ious fleet of moored vessels. I'm lucky enough to sail fair ly of ten, tak ing me out on a deck amongst the vessels I love to look at in their element.

I hope my paint ings evoke the essence of the boats that move me so.

Edward Mackenzie was born in Ho l lywood in 1937 educated in London and New York, awarded a Ful lbr ight Scholarship, Royal Col lege of Art, Lowdon 1966-1968.

He has work in co l lect ions in the U.K., U.S.A. and New Zealand. Has exhibi ted widely in Nor th Island Galleries.

JILL DANDO — FREDRIKA ERNSTEN MARY BARTLETT — MARGARET RYLEY "2 x 2 Craft Exhibition" Preview November 27 at 8pm 28 November-8 December A casual chat at a craft opening in the C.S.A. Gallery last year led to potter Fredrika Ernsten and weaver Ji l l Dando ponder ing on why they had never exhib i ted together when they have both lived and worked in Chr is tchurch craft circles for many years. The idea to combine, grew and evolved into inc luding weaver Mary Bartlett and potter Margaret Ryley.

ThThe four crafters have met at regular intervals dur ing the year to toss ideas around and establish an empthy for each other's work. They feel that they wil l be put t ing together a co-ord inated exhib i t ion and that the two crafts wi l l compl iment each other whi le present ing both beauti ful and funct ional ware to the publ ic.

SUMMER SHOW OF '85 Preview 27 November 8pm November 28-December 15 We at the C.S.A. are gett ing organised for this years br ight and co lour fu l summer exh ib i t ion.

Working members! we look forward to your par t ic ipat ion in presenting two works each for this annual event.

The summer show provides our work ing members with the oppor tuni ty of showing their most recent work to the people of Chr is tchurch.

We hope members and exhibi tors alike wi l l br ing their f r iends along, encouragement is always an added bonus to the artist and provides incent ive in the con t inua t ion of an act ive part ic ipat ion in their chosen f ie ld.

DISCUSSION EVENING — 5 December 7.30pm As part of this annual event, we have invited a small panel of work ing artists to discuss and give advice on any of the issues arising f rom the works on show.

We look forward to seeing the part ic ipat ing members at this disucssion evening which wil l be held on 5 December f rom 7.30-9.00pm.

PAINTINGS BY RICHARD Van der Aa 28 November-8 December.

Romantic is the term I would like to use to describe the paint ings in this exhib i t ion. They are composi t ions inspired by the mounta inous landscape of the South Island.

All works are oil on canvas.

Richard was born in Chr is tchurch, educated at Chr is tchurch Boys' High School and graduated Dip FA in 1985. In 1983 he spent a ful l year paint ing in Ohope, Bay of Plenty

ANGELA BURNS November 28-December 12 Preview 27 November 8pm

In her second show at the Gallery Angela Burns wil l be showing approximate ly 14 works in the Front Gallery. The show wil l consist of a number of oils on canvas with an emphasis on acryl ic on stretched paper.

Angela Burns ' work relates di rect ly to her env i ronment ; whether it be the landscape the sea or interiors.

They deal wi th her, " thoughts on her immediate surroundings and events, emphasis ing shape, l ight, and colour".

"I hope that the works wil l speak for themselves."

RICHARD FOOT Preview December 10 Jewellery in Wood and Paua. I f ind it hard to descr ibe my work wi thout showing examples or photographs, wh i ch if black and whi te simply do not do this work just ice. The materials that I use are di f ferent f rom the norm; Padouk, Eki, Rewa Rewa, Spindleberry, Robinia. Good qual i ty woods are certainly harder to come by than gold or d iamonds. I f ind wood an amazing material to work wi th , there being endless colours, grains and textures. With a respect for paua and wood combined and an artistic at t i tude I've been able to get beauti ful results. I can formulate in my mind a piece of jewellery which can conta in up to 35 di f ferent pieces of w o o d , then I'll want to draw and make it as soon as possible. The Rewards are another idea or just pure sat isfact ion.

New Zealand Institute of Architects Pilkington Group NATIONAL DESIGN AWARDS 1985 16-23 December The exh ib i t ion displays the submiss ions for the National Design Awards of the New Zealand Inst i tute of Archi tects.

The New Zealand Inst i tute of Archi tects, the NZIA represents and acts for pract ic is ing Archi tects in new Zealand and each year it invites submissions f rom its members for these Awards.

Submiss ions for the awards are nominated by archi tects of bu i ld ings that they have recently comple ted and wh ich they consider worthy.

Branch awards made local ly by the various branches are automat ical ly received as nominat ions for National Awards.

This year, for the f irst t ime, all submissions and the National Design Awards have been compi led into a travel l ing exhib i t ion wh ich graphical ly i l lustrates the large diversity of archi tecture in New Zealand today.

The submissions and awards are displayed with photographs and drawings suppl ied by the archi tects and mounted in a un i form format to provide a high qual i ty exhib i t ion.

Base Amenities Building Coronet Peak

Queenstown Architects: N. John Blair Ltd This bui ld ing is a celebrat ion of the sport of ski ing and the envi ronment of Coronet Peak and of Queenstown. It has also cleverly dealt wi th the funct ion of processing people, in an entertaining way.

The bui ld ing presents an active face to the ski ing slopes, and furthers the art of archi tecture in this celebrat ion.

New Members Allan and Beverly Bain Mr Craig Bluett Mr Denton Ms H L Gallagher and Mr R G McLaughlan Miss Ruth Graham Mr and Mrs R W Hlavac Mrs Sally Jarrett Mrs Vanna Limic Mr Bruce S Meder South Pacific Merchant Finance Ltd Mr Wayne Tasker

Mrs M Bidd ington Mrs P J Coote Barbara Fitzsimons

Mr and Mrs R S Ginders Mr and Mrs G Henderson Mr Mark Hodgk inson Mr Tom Kain Mrs Ngarita McCrost ie Mr Simon Payton

Mrs Bil l ie Sowman Mrs Lynette Tooby

Arts Calendar November/December

RICHARD BIGUS 13-24 November KERRY-ANN BOYLE 13-24 November TERRY URBAHN 13-24 November SAM M A H O N 13-24 November WALLACE CROSSMAN 13-24 November ROSALIE CROSSMAN 13-24 November WOODWORKERS G U I L D 14-24 November STEPHEN TAYLOR (Slide talk — Glass) 3.00pm 17 November EDWARD McKENZIE 28 November -8 December SUMMER SHOW '85 28 November-15 December RICHARD VAN der Aa 28 November-8 December TWO PLUS TWO 28 November-8 December ANGELA BURNS 28 November-12 December WORK FROM STOCK From 10 December RICHARD FOOT From 120 December CHILDRENS CLASSES EXHIBITION From 15 December INSTITUTE OF

ARCHITECTURE NATIONAL AWARDS 16-23 December

Jean (PfitchartX N.Z A I D

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